Take 5 with culture curator and art educator Louise Gordon

When I was six years old, Santa left me a “Dancerina Doll” dressed out in a pink tutu, pink pointe shoes, and a pink tiara that you used to help her pirouette.

That same year, my mom signed me up for dance classes at the Augusta Civic Ballet Company, then led by Ron Colton and Zanne Beaufort Colton, who had danced for a short time with the Atlanta Ballet. Historically, it marked the first year the “Nutcracker” became an annual event in my hometown. More significantly, Colton transformed Augusta into a training ground for professional dancers, opening up his school to Black children in a still segregated South. His impact changed the cultural landscape for dance in Augusta.

I can still recall the drives to ballet class. Those were the carpool days, when my mom and other mothers—like her sorority sister and good friend, Mrs. Burnice Miller—would shuttle her girls, Sharis and Virlyn, and me to Brownie meetings, birthday parties, and, of course, ballet class.

Those were also the days that gave rise to a story that made my mom laugh out loud whenever she told it. It was during my first—and last—dance recital that she realized I would never be a prima ballerina. I was one of those kids who should have been strategically placed in the back row—way back in the back row; unfortunately, I ended up being near the front instead.

However, I grew to appreciate watching ballet over the years, especially after my niece, a gifted dancer, began performing. I came to understand it as foundational to dance, just as scales are to learning to play the piano. And I was proud to be from a town where remarkable talent emerged, like Beaufort Colton and Karen Brown. Brown began her training as a dancer under Colton, then with the Dance Theatre of Harlem. Before returning to Augusta, she later worked with the Atlanta Ballet, where Louise Gordon now serves as manager of the Atlanta Ballet Boutique.

Gordon, much like Brown, believes that art—especially dance—transcends language. It’s about connection, storytelling, and shared humanity. What Gordon cherishes most is that dance is inherently inclusive; that “everyone can feel something through movement, no matter their culture, background, or language.” 

Gordon, who affectionately calls her home “Smynings,” a nod to Smyrna and Vinings, grew a deep appreciation for the city’s rich culture and diversity from her husband, Paul, a native Atlantan. Living in Atlanta connects Gordon to a global community, where she works alongside dancers from around the world. 

Above all, she treasures quiet moments at home with Paul and their three sons—cooking, laughing, and simply being together. The pandemic helped them slow down and truly appreciate the sanctuary they have built. Read more about Gordon and her work with the Atlanta Ballet below.

Talk about your journey from the corporate world to Boutique at the Ballet and beyond? What inspired you to change paths and also become a mentor for the next generation of dancers?

I began my career as a media buyer and planner, which led to a role as a media technology sales executive. While exciting, it eventually felt transactional and cold. I realized I was yearning for something more human—something that reconnected me to community, creativity, and purpose.

Ballet had been a constant in my life from childhood through my teens, offering structure, focus, and joy. When I left the corporate world, I returned to that familiar anchor, restarting ballet as an adult. The practice reawakened the discipline, artistry, and humanity I’d been missing.

Joining Atlanta Ballet’s Boutique was more than a career shift—it became a platform to foster community, inclusion, and leadership. Through programs like the Centre Ambassador Program, we mentor students in business and leadership skills, and support teachers—many of whom entered teaching without traditional workplace experience—in learning tools like presenting, emailing, and networking.

For me, the move wasn’t just about leaving corporate life; it was about restoring humanity to my work and creating space for the next generation to grow, lead, and connect through the arts.

Share one surprising or unforgettable fact about the Atlanta Ballet that most people do not know.

Most people are unaware that the Atlanta Ballet is the longest continuously running professional ballet company in the United States, having been founded in 1929. On a personal level, one of the unforgettable aspects is how global we are. Our dancers come from every corner of the world, and our students get to engage with them directly, whether through classes, performances, or community programs. That kind of connection between the youth and professionals is powerful and impactful. Not only being able to be in such proximity to a professional dancer, but also exposure to other cultures.

How do ballet and dance—particularly through institutions like the Atlanta Ballet’s Centre for Dance Education—serve as catalysts for cultural awareness and social change, both locally in Atlanta and on a global scale?

The Centre offers more than dance technique—it prepares young people for life. Through resilience, discipline, teamwork, and expression, students gain a toolkit that extends beyond the studio. Some pursue dance professionally; others enter medicine, teaching, or business. All leave transformed.

Dance is a powerful form of cultural exchange. It reflects who we are and invites us to see through another’s lens. Atlanta, with the world’s busiest international airport and deep Southern roots, is uniquely poised to be a global stage. Dance bridges those identities—connecting cultures, building awareness, and inspiring change through shared experience.

Can you share a specific example of how you’ve collaborated with Atlanta’s arts community or fellow educators in a way that profoundly impacted your work?

The Centre Ambassador Program is one of my favorite collaborations. It engages students not just as dancers but as leaders and contributors to our arts ecosystem. From inventory sessions and boutique sales to modeling merchandise and creating social media content, these students are gaining professional experience that will serve them well beyond dance. Collaborating across Atlanta’s arts and education networks also reinforces the idea that our students are part of something bigger—an arts community that’s both local and global.

In a time when arts institutions face threats from reduced government funding and the stripping of DEI programs, how do you see inclusion being actively cultivated within your work?

Inclusion is deeply personal for me. I was one of the first Filipino babies—my brother the very first—adopted by “Westerners” through the Filipino courts. With a French mother and an American father in the Foreign Service, I grew up navigating multiple worlds. From the start, I’ve lived between cultures, always aware of what it feels like to both belong and not belong.

The Boutique at Atlanta Ballet is a living example of inclusive community. Through programs like the Centre Ambassador Program, students grow as dancers and leaders—building business skills, confidence, and meaningful professional connections. Our teachers also receive mentorship in areas like presenting, emailing, and networking—tools they may not have encountered elsewhere. Every interaction reinforces the idea that everyone belongs and has a role to play.

In a climate where DEI efforts can be challenged, the Boutique proves that inclusion isn’t just policy—it’s practice. It’s about creating spaces where students, teachers, and audiences feel welcomed, empowered, and valued.

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